Although New York-based singer-songwriter Lori Carson
has been releasing records since the early nineties,
her work remains rare and unknown to most. Right from
her first album, Shelter, published in 1990,
she constantly received critical acclaim, which have
led her to work on various film soundtracks. Her blend
of folk-pop has had her compared to the likes of Tori
Amos, Beth Orton or Liz Phair, yet this new album, originally
released two years ago on Meta and now benefiting of
a full UK release via One Little Indian, takes her in
a rather more subdued and atmospheric direction.
Articulated around eight tracks, most of them going
over the seven minute mark, The Finest Thing
is a beautifully put together collection of fragile
contemplative songs and instrumentals often built around
acoustic guitars, glistening keyboards and Carson’s
ethereal voice. Far from the catchy pop songs of her
previous records, this album is a journey in itself,
stretched over its forty-six minutes, with each song
appearing as an evolution of the previous one, as if
a central idea was developed in infinite variations.
The structures here are kept to a minimal, gently underlying
the emotional nature of the tracks rather than hammering
it. Carson offers sketches of songs, hints at melodies
and suggests musical themes, but nothing is forced onto
the listener. This gives The Finest Thing incredible
depth and human touch. Right from the stunning title
track, she sets the tone of this record and never veers
far from its original template. Developed over the course
of its seven minutes, this subtle and delicate piece
of introvert pop gently evolves from the original acoustic
guitar to a spacious sonic plain over which Carson’s
voice carves delicate arabesques.
With vocal and instrumental tracks alternating almost
in sequence, Carson blurs the boundaries between songs
and spatial explorations, leaving the mind to wander
from one discreet landmark to the next. This results
in the songs at times appearing out of focus and blurring
into one another, but it actually reinforces the general
tone of this album. When more concise songs take shape
(Hold On To The Sun, Coney Island Ride),
Carson’s original folk/pop influences resurface
for a moment, but they are here perfectly integrated
within the vast soundscapes and loose musical structures
and never feel out of place.
With this latest album, Lori Carson reaches a far more
mature and meaningful stage in her career, breaking
away from more mainstream currents to develop at her
own pace. As she incorporate elements of ambient into
her work, her songs take a new dimension, her lyrics
get caught up in slow-moving sonic waves and her voice
becomes texture, creating a series of beautiful pastoral
moments.
3.8/5 |
